Category Archives: 1900s to 1920s

Maternity Patterns from 1907

Top of a full page article about Maternity styles from Ladies’ Home Journal, Jan. 1907, top of page 60.

Since Mother’s Day is approaching, this 1907 article about maternity fashions from the Ladies’ Home Journal seems appropriate. I accessed this article through ProQuest. The images were very faint and the text hard to read, so I have enhanced them.

A surprise on the same page was this 1907 advertisement for a “book” of maternity skirts, from Beyer and Williams Co., which could be purchased “made to order.” Lane Bryant is usually thought of as creating this niche market.

Ad for Fine-Form Maternity Skirt catalog, Ladies’ Home Journal, Jan. 1907, p. 60. “If not in need of a maternity skirt, remember our famous B & W dress and walking skirts….”

Back to the maternity patterns and advice available from Ladies’ Home Journal:

Since pregnancy was not mentioned in polite society, and was usually concealed as long as possible, 1907 maternity clothes looked as much as possible like current fashions. Ladies’ Home Journal patterns 2914 (bodice) and 2915 (skirt.)

The bodice was “designed by R.C. Pond,” the skirt by E. L. Phelps, and the drawings were by Anna W. Speakman. [Sometimes the ProQuest search terms are yellow-highlighted so thoroughly that the word is obscured.]


Back view of 1907 maternity bodice and skirt; LHJ patterns 2914 & 2915. [Here, “girdle” means belt or sash.]

Maternity clothing should be “inconspicuous in color, dark blue and black being preferable.” “Albatross” fabric could be worsted or cotton.

The bodice was adjustable:

The drawing shows the laced-up under-bodice and the hook and eye, side front  closings of the fashion fabric. [“Waist” is another word for “bodice.”]

The inner lining or foundation was tightly fitted, but laced up on each side of the front, so it could expand as needed. The fashion fabric was pleated and it also expanded. How it was possible to maintain the fashionable S-curve silhouette is not discussed.

“Maternity waist [i. e., bodice]” LHJ pattern No. 2914.

At left, an illustration of the expandable waist of the ten-gored skirt, LHJ pattern 2915.

Although the pattern was sold in waist sizes from 24 to 30 inches, the skirt could expand as much as fourteen inches at the waist and more at the hip.

Undergarments were also important; there is an emphasis on light-weight fabrics, since the usual layers of ruffled petticoats of 1907 could be heavy enough to cause a backache, even if the wearer was not pregnant.

Maternity undergarments, Ladies’ Home Journal, January 1907, bottom of p. 60. Tucks running around the petticoat and drawers could be let out as the front hem was pulled up by the baby bump.

Petticoat pattern 2913 description, LHJ, January 1907.

LHJ pattern 2913 for maternity undergarments, designed by H. C. Routery. 1907.

As an expanding abdomen lifted the skirt in front, the entire flounce could be lowered. From what I have seen, this problem was completely ignored by maternity dresses in the 1930’s.

Description of maternity corset cover pattern, LHJ 2911.

A maternity corset cover and maternity drawers (underpants), LHJ patterns 2911 and 2912 from 1907.

Description of maternity drawers pattern 2912, LHJ, Jan. 1907, p. 60.

There is the expectation that, after the baby is born, its mother will want to continue wearing these garments — they can be returned to her pre-baby size. Of course, most women probably did resort to wearing a “wrapper” housedress during the later months.



Filed under 1900s to 1920s, Accessory Patterns, Maternity clothes, Old Advertisements & Popular Culture, Slips and Petticoats, Underthings, Underthings, Hosiery, Corsets, etc, Vintage patterns

100 Year Old Kodak Camera Ads from World War I

“The Parting Gift — A Vest Pocket Kodak.” Ad in Ladies’ Home Journal, August 1917.

We take small, portable cameras for granted. But one hundred years ago, Kodak was putting pocket sized cameras into the hands of people who never had them before — including the men and boys who volunteered to fight in World War I.

Kodak Vest Pocket camera ad, Ladies’ Home Journal, August 1917, p. 51. “It is monotony, not bullets, that our soldiers dread…. In the training camps and during the days of forced inaction there are going to be some tedious, home-sick days — days the Kodak can make more cheerful…. There’s room for a little Vest Pocket Kodak in every soldiers’ and sailor’s kit.”

When the United States entered the war in April of 1917, training camps were still being built — including Camp Fremont, in what is now Menlo Park, California. For teen-aged girls like my mother’s older sister and her friends, it was both a patriotic duty and a pleasure to meet homesick young men from all over the country. And, judging from the photos I inherited from my aunt, “the boys” did enjoy sending pictures of their daily activities to family and friends.

My aunt, in her school uniform, with Walter van Alyne. The back of the photo says, “aged 20 years,” and it was apparently mailed to her when Walter was “Somewhere in Fra …. chelles.” [writing not legible]

Here she is with Wentworth Prescott  Gann, in 1918:

Wentworth Prescott Gann and my aunt, 1918.

Pictures reassured soldiers’ families, and were also a pretext for corresponding with new friends. (“I’d love a copy of that photo with you….” or “Here’s a copy of that picture we took at the beach….”)

Wentworth Prescott Gann, posing with artillery and a friendly dog, 1918.

Three soldiers posing for a picture to send home — or to sweethearts. The one on the left is Gaston Popescul; “Columbus (?) GA”

Clarence Turpening, probably at Camp Fremont, 1918. Sitting on two garbage cans, he is the picture of military camp tedium.

Because Camp Fremont was still under construction in 1917,  many of the soldiers who trained there did not get sent overseas. However, some unfortunate members of the 8th Division were sent to Siberia after the Russian Revolution of 1917. They were on active duty for months after World War I came to an end.

This photo of a luckier group was made into a postcard — probably everyone in it sent a copy home. I believe it is a group of bakers, with my uncle Holt (the soldier my aunt eventually married) leaning against a post in the center. I’m sure a picture like this would reassure worried families that their menfolk were safe and well. And perhaps, a bit bored….

A group of Army bakers or cooks, military camp in U.S.A., World War I photo.

“Snap-shots from Home” enhance morale for soldiers in World War I. Kodak ad, Ladies’ Home Journal, September 1917, p. 91.

Text of “Snap-shots from Home” ad, Kodak, Sept. 1917. Ladies’ HOme Journal.

Even schoolgirls like my aunt took (and sometimes printed) their own photos.

This typical photo from 1917-1918 fits easily in my hand. It’s about three inches high. The soldier’s name is Philip Wilson.

I was always puzzled by how tiny (about 2″ by 3″) many of these old photos are.  Finally, I found a full page ad in the Ladies Home Journal that gave me a hint: to save money, many people used their contact prints — made directly from the negative — but never bought enlargements. (In my aunt’s case, she made her own duplicate contact prints for friends.)

[Not Actual Size] Top of a full-page ad for Kodak, showing Vest Pocket photos in two sizes. July 1917, LHJ, page 79.

The contact prints, made by putting the negative directly on the photo paper without using an enlarger, were actually about two by three inches. The paper used for contacts feels flimsier than normal photo prints.

Bottom of full-page Kodak Vest Pocket camera ad, July 1917, page 79. Not actual size. “You don’t carry a Vest Pocket Kodak, you wear it, like your watch.”

I was not able to photograph the magazine page at actual size, so I took a photo of the whole page and then made this “relative size” image of the contact print and the enlargement.

Relative size of a contact print and an enlargement, 1917. The small contact prints — the same size as the film — were meant to be used for selecting the enlargements you ordered, but people who couldn’t afford 15 cents per enlargement made do with the contact prints themselves. And duplicate contact-sized pictures could be made by amateurs who didn’t own an enlarger.

Different cameras used different sized film, so those little contact prints came in a range of sizes.  A roll of film for the Vest Pocket Kodak cost twenty cents in 1917 and made eight exposures.

Although most people on the home front, especially in the U.S.,  had no idea of the horrors of the First World War, a tone of sadness, or at least, of solemnity, affected even Kodak’s Christmas season advertising  in wartime.

“Kodak knows no dark days.” Top of a full -page ad for Kodak cameras, December 1917. Ladies Home Journal, p. 104.

The ad was referring to taking pictures indoors, but a reference to “its allies” in the text is a reminder of the war.

Text of a Kodak ad, Ladies’ Home Journal, December 1917, page 104.

“With its allies, the Kodak flash sheets and a Kodak flash sheet holder….” As in fashion writing, allusions to the war crept in everywhere, even when it wasn’t mentioned specifically.

And here, as our dessert, is that lovely pink silk dress in better detail:

A young woman poses in a party dress in this Kodak ad from 1917. Ladies’ Home Journal, Dec. 1917, p. 104. It’s not a full color ad, which would have been more expensive, but probably printed using just black and red ink.


Filed under 1900s to 1920s, Musings, Old Advertisements & Popular Culture, Uniforms and Work Clothes, vintage photographs, World War I

Filet Crochet Lace 1917

Filet lace on a camisole, Delineator, April 1917. The same yoke could be used on a nightgown.

A vintage nightgown with a filet lace yoke. Modern blue and red ribbon was inserted, but the original ribbon insertion was probably white or pastel colored. The nightie is white, not pink. (I’m learning to use a new computer….)

There seems to have been a fashion for lingerie trimmed with this crocheted lace during the First World War era.  “Filet lace” is often recognizable by characteristic grid patterns, although quite complex shapes, such as butterflies and flowers, can be created. I know nothing about crochet and very little about lace, but I’ll post these images for those who do have an interest, especially since it may help to date vintage items.

Filet lace crochet. Top, a collar; left, a camisole; and lower right, an underwear bag decorated with swimming ducks. Delineator, June 1917.

A camisole trimmed with a basket of flowers. Filet lace, Delineator, December 1917.

Nightgowns might have a simple crochet lace yoke or a crocheted yoke that includes sleeves. Butterick patterns 8140 and 8552 from Delineator, August 1917.

Below, a different version of Butterick nightgown pattern 8552:

Filet lace trims a nightgown and a combination, Delineator, February 1917.

This vintage nightgown has a simple (see-through) yoke, but the gown is trimmed with patterned crochet lace.

Collars and blouses were also a popular place to display crochet lace:

Lace collars pictured in Delineator, September 1917.

Filet lace collar, Delineator, March 1917. [Note her “Spanish” hair comb.]

This blouse from a Bedell catalog ad has filet pattern lace, including inset medallions: Ladies’ Home Journal, October 1917.

An apron trimmed with filet lace, Ladies’ Home Journal, August 1917. This fancy item was suggested as something that could be sold at a charity bazaar.

“Even the baby wears filet.”

A baby cap in filet crochet from a page of needlework projects. Ads for needlework supplies often ran alongside these articles. Delineator, March 1917.

Lace-trimmed jabots were also popular circa 1917.

A filet-trimmed jabot that could be worn with different outfits may have been popular with women who were not quite used to wearing the new V-neck fashions. Delineator, Sept. 1917

Geometric, grid-based filet lace was not limited to the nineteen-teens; this spectacular display decorates the front and back of a slip that shows 1920’s styling.

This slip, circa 1920-1925, has a large amount of filet lace both front and back. It has 1920’s style hip accents, and its length indicates early twenties. The original silk ribbon inserted in the shoulder straps and top of the yoke has a floral pattern woven into it.

It’s possible that the large piece of lace is machine made, but the straps are crocheted.

Filet lace was often pictured along with other forms of lingerie lace trim.

Lingerie lace featured in Delineator, August 1917. Readers could write for the instructions.

Lingerie and insertion lace featured in Delineator, February 1917.

P.S. Happy holidays to all!


Filed under 1900s to 1920s, 1920s, lingerie, lingerie and underwear, Nightclothes and Robes, Old Advertisements & Popular Culture, Slips and Petticoats, Underthings, Vintage Accessories, Vintage Garments: The Real Thing

Vintage Fur and Feather Update with Useful Links

Ad for Albrecht fur coats, Delineator, Nov. 1917.

Just because a fur coat is 100 years old does not necessarily mean that you can sell it without a permit. And you need to know your bird species if you are selling vintage hats. In fact, you need to know your animal products, from feathers to ivory to crocodile to tortoiseshell, snakes — and more.

I have updated my recent post about a Vintage Store that was raided by California and U.S. Federal agencies last year. The owner is currently facing prosecution. After posting, I found a useful factsheet from the U.S. government. Click here: it is a two page pdf that can be printed and posted for reference.

If you sell or collect vintage clothing, you may not realize that “antique” or vintage status does not exempt all furs, feathers, and other animal products from regulation. Some vintage items made from listed animals can be sold if you have a permit. But for some items made from endangered species, there are no permits and very limited exceptions.

“Some wildlife laws prohibit all sale or purchase of products made from a protected species. Examples include the Migratory Bird Treaty Act (which protects more than 1,000 wild birds native to the United States) and the Bald and Golden Eagle Protection Act.” — U.S Fish and Wildlife Service “Can I Sell It?” Factsheet.

Here is what the “Can I Sell It?” factsheet says about feathers from endangered and threatened species:

“Taxidermied migratory birds or migratory bird feathers and parts: With some limited exceptions, sale of any type prohibited regardless of age of the specimen. (Exceptions involve limited purchase and sale of certain captive-reared and sport-taken migratory waterfowl.)
Examples: Victorian songbird collections, vintage women’s hats, and feather boas. [My boldface]
Of course, you have to be able to recognize which feathers and furs are on the endangered or threatened list (a very long list, called CITES Appendix 1). Identifying them on vintage clothing is complicated by the very old practice of altering fur and feathers from common domestic species to resemble rare or exotic species. Is that a bald eagle feather [“Sale prohibited regardless of age”]  or a turkey feather that has been doctored to look like one? Could that vintage “jaguar skin” coat really be jaguar [prohibited,] or is it rabbit fur cleverly dyed?
The U.S Fish and Wildlife Service says,
“For us to answer your questions accurately, you must be able to tell us the species involved, including the scientific name, if possible.” — “Can I Sell It?” Factsheet.
 What kind of “wolf” fur is this? Hint: It’s probably not Manchurian, and definitely not wolf. More like Rin Tin Tin.

Manchurian Wolf Dyed Dog Fur trimmed coat from Sears, 1931.

At least it’s not a member of an endangered Canis Lupus (i.e., wolf) family….

My mother, around 1945. Was she literally “putting on the dog?” (That expression — meaning “dressing to make a display of wealth” — dates to the 19th century.)

Another passage from the “Can I Sell It?” factsheet:

“Grizzly bear, jaguar, or other U.S. species listed as endangered or threatened: No interstate or international sale of any type regardless of age, without a permit. Sale within a State allowed unless prohibited under State law. Examples: Taxidermied specimens, rugs, clothing, and other fur articles.
Sometimes a permit is needed to sell products made from protected species. Trade is regulated by state, federal, and international agencies — so you need to check with all that apply.  Investigators from both the California Department of Fish and Wildlife and the U.S. Department of Fish and Wildlife conducted the raid on Cicely Ann Hansen’s vintage clothing store.
If only it were possible to ask “The Bird on Nellie’s Hat” what species it is!
Women's hats with feathers, Delineator, Nov. 1917.

Women’s hats with feathers, Delineator, Nov. 1917. The mania for egret feathers on hats eventually led to the formation of the Audubon Society, and the Migratory Bird Treaty Act of 1918. Read about it here.

In 1905, George Bernard Shaw complained to the management of an opera house about having to sit behind women who wore dead birds on their hats. To read his entertaining letter, click here.

Some Useful Links About Threatened and Endangered Species

Here is an endangered and threatened species list from the U.S. Fish and Wildlife Service. It’s alphabetized by Latin names, but the common names are also given.
Birds protected by the Migratory Bird Treaty Act include several kinds of egrets; a full endangered and protected birds list can be found by clicking here (common English and scientific names are given.)
Click here for an overview of the CITES (Convention on International Trade in Endangered Species) program. Unfortunately, the CITES appendices are in scientific classification format, so look up the scientific name for your problematic animal before visiting CITES. For example, search “Latin name for gray wolf” and you will find it is Canis Lupus. Then you will be able to find out if the animal is on an endangered species list.
But first, before you think of buying or selling, you need to identify what the garment or object is made of. The Vintage Fashion Guild Fur Resource can help you identify furs, crocodile, alligator, etc. The listings will expand if you click on the {…} symbol. Then, checking if you need a permit to sell your garment is up to you.


Filed under 1900s to 1920s, 1920s, 1920s-1930s, 1930s, 1930s-1940s, 1940s-1950s, 1950s-1960s, 1960s-1970s, Hats, Late Victorian fashions, Musings, Old Advertisements & Popular Culture, Resources for Costumers, Vintage Accessories, Vintage Garments: The Real Thing

German Spies Pictured in Fashion Magazine, 1918

Images from an article in Butterick's Delineator magazine, July 1918.

Images from an article in Butterick’s Delineator magazine, July 1918.

In high school, history was my least favorite subject. Now that I am older, I wish we had been encouraged to study history in a different way; I have always been interested in people and their daily lives. The faces of these women  intrigued me. [Caution: I may be guilty of doing superficial research — TLDR–while trying to find out more about these “Huns,” “spies, and “traitors.”]

My point is that more research might be rewarding, that starting with a face and a name might be a way into the past for people who think history is boring,  and that “women’s magazines” or “fashion magazines” should not be disdained by historians.

Historians may find more than they expect in “women’s magazines.” Especially in wartime,  Ladies’ Home Companion, Delineator, McCalls’ Magazine and several other “fashion” periodicals presented a ready platform for communicating with women across the country. During World War I,  Ladies’ Home Journal and McCall’s Magazine had over a million subscribers each. [Magazines in the Twentieth Century.]

"Huns, Here There, and Everywhere," a page from Butterick's Delineator magazine, July 1918.

“Huns, Here, There, and Everywhere,” a page from Butterick’s Delineator magazine, July 1918. Detail: top of page. “These are in jail, but other spies and traitors are at work for the Kaiser … WATCH FOR THEM.” Calling the enemy by a pejorative nickname (e.g., “Huns”) is a propaganda device, which made me want to learn more about these people.

When I leaf through a women’s magazine from 1925, or 1917, such as Ladies’ Home Journal, or Butterick’s Delineator, I find more than fashion — I get a little social insight into the era. The editors wanted to sell magazines, so the articles that surrounded the patterns for sale had to be of interest to readers, too. Often they are short stories, or serialized novels. But the magazines are not always about creating a fantasy world. “Real world” topics impinge.

How much money does a young married couple need, and how should they budget it? (1920’s)  What are the jobs open to a college girl? How much will they pay? Can she live on $18 a week? (1930’s) Why does one out of seven babies born in America die? (1917 Delineator series) Should doctors administer anesthetics to a woman in childbirth? (Delineator, September 1934.)

In wartime, women’s magazines cooperated with the federal government in spreading information.

How can you feed your family and understand wartime food restrictions?

Wartime food restrictions, form Ladies' Hme Journal, August 1917, p. 16.

Explaining wartime food restrictions, from Ladies’ Home Journal, August 1917, p. 16.

Herbert Hoover's Food Administration answers women's questions. Ladies Home Journal, September 1917.

Herbert Hoover’s Food Administration answers women’s questions. Ladies’ Home Journal, September 1917. So many articles appeared in more than one magazine source that I stopped photographing duplicates.

What garments can you sew for the Red Cross?

Official Red Cross garments to be made by volunteers. A surgical gown, and two kinds of pajamas -- one which can be easily opened while treating wounded men. Delineator, November 1917. P. 77.

Official Red Cross garments to be made by volunteers. A surgical gown, and two kinds of pajamas — one of which can be easily opened while treating wounded men. Delineator, November 1917, p. 77.

From an article on sewing for the Red Cross, Delineator, September 1917, p. 77.

From an article on sewing for the Red Cross, Delineator, September 1917, p. 77.

In December, the same information appeared in Ladies’ Home Journal, illustrated with photos instead of line drawings.

Hospital garments to sew for the Red Cross, Ladies' Home Journal, December 1917., p. 25/

Hospital garments to sew for the Red Cross, Ladies’ Home Journal, December 1917., p. 25.

What can you expect when your son goes off to war?

From an article in Ladies' Home Journal, August 1917. "If he is the right kind of boy?" This is heartbreaking -- and it is propaganda.

From an article in Ladies’ Home Journal, August 1917. “If he is the right kind of a boy… Nothing will happen to him.” — If he is “the right kind of a boy?” This is heartbreaking — and it is morale-building propaganda.

In this case, the topic was watching out for German Spies. (July 1918)

Top of "Spies and LIes" article, Delineator, July 1918, page 38/

Top of “Spies and Lies” article, Delineator, July 1918, page 38.  The women are oblivious of the eavesdropper.

More of "Spies and LIes, Delneator, July 1918, p. 38. I regret that I didn't photograph the entire article.

More of “Spies and Lies, Delineator, July 1918, p. 38. In World War II, the equivalent message was “loose lips sink ships.” But readers should also “Report the man who spreads pessimistic stories [or] … cries for peace.” I regret that I didn’t photograph the last few lines of the “Spies and Lies” article from this fashion magazine.

Huns, Spies and Traitors, 1918

Delineator, July 1918.

A gallery of German “spies” — or is it? Delineator, July 1918.

This set of “mug shots” has been on my mind recently, especially since the San Francisco Chronicle published two 100th anniversary articles about the prosecutions following the “Preparedness Day Parade” bombing that occurred in San Francisco on July 23, 1916.  One 2016 article, by Carl Nolte, had the title “Bombing Centennial: Blast in July 1916 killed 10, left 2 innocent men in jail for decades.

“Juries convicted two labor union organizers, Tom Mooney, 33, and Warren Billings, 22, … although, as it turned out, the convictions were based on perjured testimony and doctored evidence. The real bombers were never caught.

“Investigations later showed that Mooney and Billings had been framed by San Francisco District Attorney Charles Fickert, who was acting on behalf of the city’s business establishment, anxious to strike a blow at labor unions and what they saw as dangerous leftists and anarchists. “

Thanks to a crusading newspaper man  — editor Fremont Older — Mooney and Billings were finally freed — in 1939.

” ‘ It is impossible to know what really happened that day in 1916,” said Chris Carlsson, a local historian. ‘But for sure, it was not Mooney and Billings who planted that bomb.” — Carl Nolte, SF Chronicle, July 17, 2016.

If you want to read Nolte’s entire article, (the online version has a different title,)  click here. (And who doesn’t want to read about a newspaper man who lost his job — and got another– because of his investigation, but never stopped trying to free two innocent men?)

After reading about this incident,  I remembered Delineator’s gallery of convicted German spies, and I wondered about them –especially these two women. (It’s important to remember that activities which are lawful in times of peace — like organizing a strike, or opposing the draft — may be illegal in times of war. It can happen very quickly.)

Who Were These People?

They were all convicted. They were not all “Huns” or German agents.

Left, Missouri's Kate Richards O'Hare; Right, California's Mrs. Margaret Cornell. Images from Delineator July 1917.

Left, Missouri’s Kate Richards O’Hare, convicted of espionage and sentenced to five years. Right, California’s Mrs. Margaret Cornell, convicted of conspiracy. Images from Delineator July 1917.

In 1916,  Kate Richards O’Hare was the Socialist Party candidate for U.S. Senate from Missouri. She opposed America’s entry into the war.  O’Hare was arrested in July, 1917 because she gave a speech “deemed to be anti-war.”  (By this time, the U.S. was officially at war with Germany.) When sentenced to five years in prison, she said, “[if] it is necessary for me to become a convict among criminals in order that I may serve my country there, then I am perfectly willing to perform my service there.” She was guilty of “espionage”  because she violated the Espionage Act of 1917. She later devoted many years to prison reform; according to, “in 1924–26 she conducted a national survey of the contract-labour practice of prisons.” [A topic still of interest today.] A great deal has been written by and about her.

But Cornell is another story. Mrs. Margaret Cornell of San Francisco might be a rewarding subject for more research.  Was she a low-level office worker trying to keep her job at the German Consulate, or a willing participant in her boss’ plot to disrupt British shipping?  She was the only woman was among many workers at the German Consulate in San Francisco convicted in the Indo-German-Irish plot: “Just a few months into World War I, an Indo-German-Irish plot was established to ship American weapons to India for a revolt against the Raj with the intention of reducing Britain’s ability to wage war on Germany and Irish nationalism. ” See British Intelligence Station in San Francisco during the First World War.  (Yes, in the neutral U.S.A., spies of many nations were at work.)

Cornell received a relatively light prison sentence, and no fine. I found the record of her admission to San Quentin Prison, on Feb. 8, 1917, through Although newspapers sometimes refer to her as Margaret W. Cornell, there she is listed as Margaret E. Cornell; Cornell is presumably her husband’s name. Her occupation is “office clerk,” her age is 52, and her birthplace is Ireland. She was convicted of espionage (Sections 37 and 13 of the U.S. criminal code) because she passed coded messages between her boss (the German Consul-General) and Charles Crowley, another member of the “Hindu Conspiracy,” as the press called it. Was she a dupe? Was she suspected of having anti-British, Irish Republican sympathies? (The Easter Rising of 1916 was a rebellion against British rule in Ireland.) At one point in the trial, she said, “I am now a woman without a country.” She is mentioned — and quoted — in newspaper accounts of the trial;  in 1917, San Francisco had several competing major newspapers, so there is plenty of material for a student of history to explore. Cornell claimed to have TB, and feared that she would die in jail. What happened to her?

Here are brief descriptions of some of the other “huns” and traitors who were pictured.

Olivereau and Schmidt, Delineator, 1918.

Left, Louise Olivereau of Seattle, Washington,  and Carl Schmidt of Detroit, Delineator, 1918.

Louise Olivereau worked as a stenographer for the Industrial Workers of the World (a labor organization popularly known as the Wobblies) — but she was also an anarchist, and she distributed anti-war circulars which she had printed at her own expense, for which she was convicted under the Espionage Act of June 1917.

Wilhelm von Brinken of San Francisco, and Jacobsen

Left, German “Baron” Wilhelm von Brinken of San Francisco, and Gustave H. Jacobsen of Chicago.

If Wilhelm von Brinken (who looks as if he usually wore a monocle) seems familiar, it is because he became an American citizen in 1920 and had a long career playing Germans in 92 Hollywood war films (WW I and WW II.)

Von Brinken was indicted along with his boss,  Franz Bopp, the German Consul-General in San Francisco, Baron E.H. von Schack (the Vice-Consul)  and Charles C. Crowley.    Like Margaret Cornell, Crowley worked for the German Consulate.  [San Francisco Chronicle, Feb. 9, 1917.] A well-known detective hired by the German Consul-General, Crowley was accused of trying to plant bombs in Canadian munition ships and elsewhere; Crowley and Bopp communicated — in “coded messages” — that were sent to Cornell. (Did she understand what they were about?)

Left, von Schack, right Crowley.

Left, Baron von Schack; right, Charles C. Crowley. Von Schrack looks jaunty in a straw boater hat. Crowley was a private detective hired by the German Consulate.

Left, Bopp, and right, von Rintalen. Delineator, 1917.

Left, Franz Bopp, German Consul-General in San Francisco, who was convicted of violating U.S. neutrality as part of  the “Hindu Conspiracy,” among other charges.  Right, Captain Franz von Rintelen was chief of the German Secret Service in the U.S. during WW I. Delineator, 1917.

Somer C. Spence and LAmar in Delineator, 1917.

Homer C. Spence of Oklahoma (“sedition and anti-draft riots,) and David Lamar of New York (“planned munition delay through strike plots,”) pictured in Delineator, 1917.

David Lamar, who “planned munition delay through strike plots” and German spy-chief Captain Von Rintelen (pictured earlier) were convicted in a munition strike conspiracy.

“Anti-draft rioter” Homer C. Spence of Oklahoma — who looks like he stepped out of the pages of Time-Life’s “The Pioneers” —  was implicated in the “Green Corn Rebellion,” which was subject of a 1937 novel of that name by William Cunningham. The  inter-racial (white, black, and Native American) “Working Class Union” (WCU) of mostly young tenant farmers was involved. (The idea that rural Oklahoma was once a hotbed of Socialism was certainly news to me!)

I knew nothing about this part of American History, and I have not read every word of all the links I cited — some are book-length. (They are there for anyone to pursue.)

But it just goes to show what surprises you find while reading old “women’s magazines.” If you know any history students in search of material, you might want to steer them toward browsing old “fashion” periodicals. What a lot of questions they raise!

Since many of these “Huns” were arrested and tried in San Francisco, I used some news items from the San Francisco Chronicle archives for 1917 and 1918, accessed through my public library.

(For other ways World War I was reflected in women’s magazines, see “Up Like Little Soldiers,”  WW I Fabric Shortages , and “New Clothes from Old.”)



Filed under 1900s to 1920s, Hats, Menswear, Musings, Old Advertisements & Popular Culture, vintage photographs, World War I

Pajamas and Sleepwear from 1917

Pajamas for girls and women, Butterick pattern 9433, Delineator, October 1917, p. 89.

Pajamas for girls and teen women, Butterick pattern 9433, Delineator, October 1917, p. 89.

Some pajamas from 1917 were really “onesies,” since the part below the waist was attached to the top. I inherited a pair of these-all-in one pajamas, made of peach-pink cotton and embroidered with a few little flowers, but donated them to a university collection without taking a photo.  As I remember, the crotch from waist in front to back was open, and closed with little snaps.

Pattern description of Butterick 9433, Oct. 1917.

Pattern description of Butterick 9433, Oct. 1917. Made in sizes from 4 to 18 years.

How you get into and out of these pjs, Butterick 9433, is hard to say; the girls’ version obviously unbuttons down the front, but whether the “bloomers” are attached at the waist isn’t clear. I think they were attached, just like pajama pattern number 9400, which is pictured and described next.

In fact, pattern 9433, for girls and teens,  looks identical to 9400, except that 9400 came in women’s sizes. Butterick pajama pattern 9400 is explained more thoroughly:

Butterick negligee 9279, boudoir cap 9523, and pajama 9400. September, 1917. Delineator.

Left, Butterick negligee 9279, boudoir cap 9523; Right, Pajamas or Lounging-robe 9400. September, 1917. Delineator.

Pattern description, Butterick 9400, from 1917.

Pattern description, Butterick 9400, from 1917. The bloomers are “sewed to the belt.” Recommended for lounging or sleeping.

The word “houri” is used here in the sense of  “beautiful woman” in vaguely Arabic dress.

Baby, It’s Cold Inside….

One reason for wearing a sleeping cap — or boudoir cap — was added warmth. These advertisements for Brighton Carlsbad Sleepingwear are from winter months.

Ad for Brighton Carlsbad Sleepingwear, Ladies' Home Journal, October, 1917, p. 141.

Ad for Brighton Carlsbad Sleepingwear, Ladies’ Home Journal, October, 1917, p. 141.

These pajamas for both women and men are called “pajunions” — a combination of “pajama” and “union suit.” (“Union suit” was the proper name for long, neck-to-ankle undergarments, familiarly called “long johns.” They were worn by both  men and women.)

A teen-aged daughter wears warm flannel "pajunions.' YOu can see the stitching at the waist which attaches the bottoms to the top. LHJ, Oct. 1917.

“When the dance-card is read/ then to Brightons and bed.” The teen-aged daughter wears warm flannel “pajunions.’ You can see the stitching at the waist which attaches the bottoms to the top. LHJ, Oct. 1917.

Buttoned ankles of Brighton Carlsbad Pajunions. 1917 ad.

Buttoned ankles of Brighton Carlsbad Pajunions. 1917 ad.

Ad for Brighton Carlsbad Sleepingwear, Ladies' Home Journal, Nov. 1917.

Ad for Brighton Carlsbad Sleepingwear, Ladies’ Home Journal, Nov. 1917.

Text of Brighton Carlsbad ad, October 1917.

Text of Brighton Carlsbad ad, October 1917. The pajunion, “a pajama in one piece,” had “no binding draw-string” because the trousers hung from the shoulders.

The child’s sleepers show the “trap door” in back which was necessary for using a chamber pot, or visits to the outhouse.

The posterior could be unbuttoned.

The posterior could be unbuttoned.

This child’s sleeping garment is not unlike Butterick’s pattern 1330, here called a “nightgown.”

Butterick child's "nightgown-with feet" number 1300, from December 1918.

Right, a Butterick child’s “nightgown” with feet, number 1330, from December 1918. Delineator.

The footed sleeping suit includes a hood. So did the Sleepers from Brighton Carlsbad — they had a “detachable helmet.”

From A Brighton Carlsbad ad, Ladies' Home Journal, October 1917.

From a Brighton Carlsbad ad, Ladies’ Home Journal, October 1917.

So did this sleeping suit for adults:

Brighton Carlsbad Union Sleepers for an adult. 1917.

Brighton Carlsbad Union Sleepers for an adult. “If preferred, without cap or feet.” 1917. “Cold cannot creep in. Just the garment for healthful out-door or open window sleeping.”

Think about living in a house without modern insulation, or heating. I remember Laura and Mary Ingalls, in one of the Little House books, waking up in a bed which was strangely warm for once — because there were several inches of snow on top of their blankets.

A nightgown with "foot pockets" for winter warmth. Brighton Carlsbad ad, October 1917.

A nightgown (Night Robe) with “foot pockets” for winter warmth. “For men, women and children…. With or without hood.” Brighton Carlsbad ad, LHJ, October 1917.

At least you would be able to shuffle around the bedroom with two separate “Foot pockets.” If they weren’t separate, walking would be more like a sack race.

Many men still wore night shirts in 1917:

Man's nightshirt, Brighton Carlsbad ad, Ladies' Home Journal, October 1917, p. 141.

Man’s nightshirt, Brighton Carlsbad ad, Ladies’ Home Journal, October 1917, p. 141. Fabric “Also [in] summer weights.”

I have a Silent Film Festival memory — both my husband and I noticed the same thing. In a short comedy, a pair of  newlyweds take a room in a boarding house. To our surprise, the woman is wearing mannish striped pajamas when other boarders invade their room. She grabs a rug from the floor and wraps it around her waist and hips — clearly more concerned about strange men seeing her lower body in pants than she is about them possibly seeing her breasts through her top.

New Search Category:  “Women in Trousers”

As a young adult in the 1960’s, I have clear memories about when and where women were not allowed to wear trousers. I find that I write about this topic fairly often, so I decided to add a “Women in Trousers” category to this blog — and updated three years worth of blog posts to include it whenever applicable to images or text. (Since “pants” can refer to underpants or panties in British English, I chose “trousers” to refer to slacks, culottes, pajamas, shorts, overalls, gym bloomers, golf knickers, and all other bifurcated outer garments for women.) This should make it a little easier to find relevant posts without “getting your knickers in a twist.” (Another British phrase which evokes a different garment on each side of the Atlantic 🙂 )


Filed under 1900s to 1920s, 1920s, Children's Vintage styles, Menswear, Nightclothes and Robes, Old Advertisements & Popular Culture, Vintage patterns, Women in Trousers

Women’s Work Overalls, circa 1917

Quite apart from work clothes worn by women doing war work (See “College Girls Become Farmers”), Butterick offered “bloomer dress” patterns in 1917.

Bloomer Dress Overalls, 1917

The woman with the mop is wearing Butterick pattern 9294, called a "Bloomer Dress." Delineator, July 1917, p. 52.

The woman with the mop is wearing Butterick pattern 9294, described as a dress, which resembles the “Bloomer dress,” of 19th century dress reformer Amelia Bloomer. Its “overalls or bloomers are soft and pretty.” Delineator, July 1917, p. 52.


“The design is also delightful for negligee wear” in washable silk or satin. Butterick  pajamas for 1917  were also  gathered  at the ankle.

During World War I, fashion magazines used many military terms in a punning way –“over the top” fashion, the “dress parade,” etc. Here, “home-reserve” and “active service” are not meant to be taken literally, although many American women did take active roles in formerly male occupations, from farms to factories, in 1917. (Although World War I  began in Europe in August of 1914, the United States did not enter the war until April 6, 1917.)

Like the original Bloomer outfit of the 1850’s, Butterick dress No. 9294 conceals the trousers above the knee with an ample overskirt.

The month before, in June, a more daring “Bloomer dress” was shown; without a concealing overdress, it is more like a boiler suit or coverall.

Center, Butterick Bloomer dress pattern 9235, Delineator, June 1917, page 62.

Center, Butterick Bloomer dress pattern 9235, Delineator, June 1917, page 62.


“The next step in the woman movement is into the bloomer dress.” Butterick pattern 9235 is suggested for domestic duties, with no mention of volunteer work. “If you would sprinkle the lawn or clean out the attic you might as well be practical about it as well as feminine.”

The Ladies’ Home Journal suggested equally revealing outfits for women taking on traditionally male jobs in 1917, but did not offer patterns for them.

Ladies' Home Journal, September 1917.

Ladies’ Home Journal, September 1917. Not all of the Journal’s suggestions had overskirts.

Of course, some women factory workers simply adopted men’s overalls for their war work.

American woman in Ladies' Home Journal, August 1917.

American woman in Ladies’ Home Journal, August 1917. Women doing previously male jobs freed men for military duty.

Other women workers wore variations on gym clothes, usually voluminous — and shape disguising — bloomers.

College girls working at a dairy, Delineator, October 1918. They are literally wearing their gym suits.

Butterick’s Delineator magazine formed its own “Women’s Preparedness Bureau”…

Delineator magazine's Women's Preparedness Movement, July 1917, p. 22.

Delineator magazine’s Women’s Preparedness Bureau, July 1917, p. 22. “There are many kinds of service, from coursing on the clouds as an aviator to managing a spirited steed or a modern rifle.”

From Delineator's Women's Preparedness Bureau, July 1917

From Delineator’s Women’s Preparedness Bureau, July 1917.

“Businessmen are realizing that they will have to employ women in positions where formerly only men were to be found….”

The Woman's Preparedness Bureau offered to match women with suitable war jobs. Delineator, July 1917, p. 22.

The Woman’s Preparedness Bureau offered to match women with suitable war work. Delineator, July 1917, p. 22.

However,  The Ladies’ Home Journal published a much more practical multi-page article in November 1917. You can read it online thanks to the Hathi Trust. Here is the link. It may be slow to load, but it is interesting reading in women’s history.

Top of the first page of a long article on War Work for women in the United States. Ladies Home Journal, November 1917, page 39.

Top of the first page of a long article on War Jobs for women in the United States. Ladies Home Journal, November 1917, top of page 39.

This long article names government offices and civil service testing opportunities. If an army moves on its stomach, it also moves on a flood of clerical work.

One part sounds all too familiar…

From "War Jobs for Women," Ladies' Home Journal, November 1917, page 39.

From “War Jobs for Women,” Ladies’ Home Journal, November 1917, page 39. “All the facts he gives are from government sources.”

Given the current political climate, I found this paragraph — about the women who took those unglamorous jobs — quite interesting. They were often first generation Americans, the daughters of immigrants.

From The Ladies' Home Journal, November 1917, page 39.

From The Ladies’ Home Journal, November 1917, page 39.

Of course they had an economic incentive, but many of these first generation American women must have come from cultures not accustomed to letting their daughters work outside the home or family farm, away from the watchful and protective eyes of fathers and brothers.

A Disturbing Sidelight on Women in Trousers, 1920

At a Silent Film Festival, watching Oscar Micheaux’s historic 1920 silent film Within Our Gates, I saw female members of a lynch mob wearing variations on these wartime work outfits.

The movie, Micheaux’s response to the glorification of the Ku Klux Klan in Birth of a Nation, shows the lynching of a black family. Just after their little boy escapes, a mob including women surges toward the gallows. One of the women is wearing a suit; one wears a light, summery dress; at least two others wear voluminous gym knickers with middy blouses tucked into the waist. Whether they are farm workers or young women in gym suits isn’t clear.  The film is very grainy, but shows women appearing in a crowd of men while wearing trouser-like work clothes. Click here to see them in motion.   (It is grim.) Note that Micheaux has included women of all social classes in his lynch mob. This two-minute scene is powerful. Incidentally, his leading lady Evelyn Preer wears an extensive nineteen-teens wardrobe in the course of the film, so we can see period clothes in motion on a lovely but real woman’s body, instead of a fashion illustrator’s fantasy.


Filed under 1900s to 1920s, Musings, Old Advertisements & Popular Culture, Uniforms and Work Clothes, Vintage patterns, Women in Trousers, World War I